Who was Anton Webern?

Anton Webern (1883–1945) was an Austrian composer known for his contributions to the 12-tone Viennese school. Some of his most noted works include his chamber music, various songs, and passacaglia for orchestra. Webern studied musicology and composition at the University of Vienna, earning a Ph.D. in 1906. In 1904, he became a private pupil of Arnold Schoenberg , which proved to be a decisive influence. With Schoenberg and Alban Berg, Webern explored new dimensions of musical expression, which led to the establishment of atonality, a concept that eliminates the necessity of a governing tonal center. The Nazis banned Webern's music as "cultural Bolshevism" and "degenerate art." In 1945, he was accidentally shot and killed by a U.S. soldier.

What kind of music did Anton Webern compose?

Anton Webern, an Austrian composer, is known for his expressionism, which encompasses atmospheric suspense and explosive vehemence. His innovative style includes melodic and harmonic fragmentation, wide intervallic leaps, unusual use of dissonance and timbres, and a sparse texture with concise forms, which initially shocked listeners accustomed to late Romantic opulence. Webern adopted the 12-tone method, employing serial techniques in his compositions. His notable works include the Six Pieces for Orchestra (1909), Five Movements for String Quartet (1909), and the String Trio (1927). Webern's music, once disconcerting, gained recognition in the 1950s and significantly influenced composers like Pierre Boulez and Karlheinz Stockhausen.

With which famous group of composers was Webern associated?

Anton Webern, an Austrian composer, was associated with the Second Viennese School, which included Arnold Schoenberg and Alban Berg . This group of composers is known for their pioneer work in modern music. Webern became a private pupil of Schoenberg in 1904, which proved to be a decisive influence. With Schoenberg and Berg, Webern explored new dimensions of musical expression, leading to the establishment of atonality. Later, in 1924, Webern adopted Schoenberg's 12-tone method, employing the serial technique in all his compositions. The Nazis branded the music of the "New Vienna school" as "cultural Bolshevism" and "degenerate art" and banned its performance.

What is twelve-tone music, and how did Webern use it?

Twelve-tone music, largely composed after World War I, employs the twelve-tone technique of composition. Arnold Schoenberg invented the technique, using all 12 tones "related only to one another" rather than using one or two tones as focal points. A unifying principle arises from the order given to the 12 tones, known as its basic set or row. Anton Webern was a student of Schoenberg and wrote twelve-tone music, though he did not use the basic set idea in the same way as Schoenberg. Webern adopted the twelve-tone system in his Kinderstuck for piano (1924), employing the serial technique for all further compositions and developing it with severe consistency to its most extreme potential. In his mature works, Webern divided the individual components of melodic phrases over several instruments as an imaginatively coloristic reinforcement of the complex polyphony that characterized his style.

How did Webern’s music differ from traditional classical music?

Webern's music differed from traditional classical music through novel stylistic aspects such as melodic and harmonic fragmentation, wide intervallic leaps, unusual use of dissonance and timbres, ascetic sparseness of texture, and extreme conciseness of form. These elements marked a departure from the opulence of the late Romantic era, characterized by composers such as Richard Wagner, Anton Bruckner and Mahler. Webern explored new dimensions of musical expression with Arnold Schoenberg and Alban Berg, leading to atonality, which negated the necessity of a governing tonal center. Webern adopted the 12-tone method and serial technique, applying it to all further compositions.

Why is Anton Webern important in the history of modern music?

Anton Webern, an Austrian composer from the 12-tone Viennese school, is noted for his contributions to modern music, particularly his passacaglia for orchestra, chamber music, and songs. As a student of Arnold Schoenberg , Webern explored atonal music, which does away with the necessity of a governing tonal center, yet he established his distinct style early on. Webern adopted Schoenberg's 12-tone method, applying serial techniques to all his compositions and pushing it to its limits. His mature works divided melodic phrases across instruments, which emphasized the complex polyphony that defined his style. Post-World War II composers widely adopted Webern's procedures, and he also had an interest in 15th-century canonic techniques.

Anton Webern

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Anton Webern summary

Anton Webern

Austrian composer

Also known as: Anton Friedrich Wilhelm von Webern

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Hans Moldenhauer

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Life and works

Webern’s father, a mining engineer, rose to the highest rank of his profession, becoming chief of mining in the Habsburg government. Nobility had been conferred upon the family as early as 1574 by Emperor Maximilian II. Although the predicate von was outlawed in Austria after the 1918 revolution, and the composer’s music had to be published under the name Anton Webern, he upheld his aristocratic heritage throughout his life.

Webern’s father’s career caused the family to move to two provincial capitals, Graz and Klagenfurt, and then back to Vienna. Webern received his first musical instruction from his mother, an amateur pianist. In Klagenfurt, Edwin Komauer instructed him in the rudiments of musical theory, as well as in piano. Webern also learned to play the cello and participated in the local orchestra.

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His first compositions, Two Pieces for Cello and Piano (1899) and several songs, date from the Klagenfurt period. In 1902, after graduation from the Klagenfurt Humanistisches Gymnasium, he attended performances of Wagner operas at the Bayreuth Festival, and these left a deep impression on the young musician. That fall, he entered the University of Vienna, studying musicology and composition. He received a Ph.D. degree (1906) with a dissertation on the Choralis Constantinus II of the Dutch composer Heinrich Isaac. Meanwhile, in the autumn of 1904, Webern had become a private pupil of the composer Arnold Schoenberg. The association proved to be a decisive influence. With Schoenberg, and soon also his friend the young composer Alban Berg, Webern explored new dimensions of musical expression, leading to the breakthrough that established “atonality”—a revolutionary concept abnegating the necessity of a governing tonal centre. But from the start Webern created a style distinctly his own.

Schoenberg’s direction of Webern’s musical development ended in 1908. By then, Webern had already written many works, including the orchestral idyll Im Sommerwind (1904; antedating his study with Schoenberg), several string quartets, the songs based on poems of Richard Dehmel, the orchestral Passacaglia (1908), and the choral canon Entflieht auf leichten Kähnen (1908). These still adhere to traditional tonality, but, with the Stefan George songs (1908–09), Webern entered the realm of music no longer based on a fixed tonal centre.

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In 1911 Webern married Wilhelmine Mörtl, the daughter of his mother’s sister. Because of the Roman Catholic prohibition of the union of first cousins, the marriage was solemnized only in 1915, after three of the couple’s four children had already been born. Webern, while deeply religious in a pantheistic sense, was averse to church dogma, rejecting the priest’s role as intermediary between God and humanity. During the years 1908 to 1913 he held posts as coach and conductor in Vienna, Ischl, Innsbruck, Teplitz, Danzig, and Stettin. These engagements proved to be short-lived since he loathed theatre routine, choosing instead to focus on free creative work. His compositions of that period reveal a growing tendency to compress the highest intensity of expression within the greatest formal brevity, characteristics that mark his Five Movements for String Quartet (1909), Six Pieces for Orchestra (1909), Four Pieces for Violin and Piano (1910), Two Songs, Opus 8 (1910), Six Bagatelles for String Quartet (1911–13), Five Pieces for Orchestra (1911–13), and Three Small Pieces for Cello and Piano (1914). The Cello Sonata (1914) marks his first effort to return to more expanded forms following his “aphoristic” period. Webern’s Four Songs, Opus 12 (1915–17) and Opus 13 (1914–18), Six Songs (1917–21), Five Sacred Songs (1917–22), Five Canons on Latin Texts (1923–24), Three Folktexts (1924), Three Songs (1925), and Two Songs (1926) are vocal compositions; except Four Songs, which employs piano accompaniment, these works are distinguished by highly original instrumental combinations.

In 1915, during World War I, Webern enlisted for army service but was discharged at the end of 1916 because of poor eyesight. After a last theatre season in Prague (1917–18), he settled in Mödling, near Vienna, teaching privately and acting as supervisor for the Schoenberg-founded Society for Private Musical Performances (1918–22). In 1924 Schoenberg formulated the 12-tone method of composition—the system in which a basic “row,” formed from the 12 independent tones of the chromatic scale, is used melodically and harmonically through the devices of inversion, retrograde progression, and transposition, allowing for a total of 48 possibilities in which the chosen row may appear. Webern adopted this system first in his Kinderstück for piano (1924), employing the serial technique thereafter for all further compositions and developing it with severe consistency to its most extreme potential. The instrumental works during that period—String Trio (1927), Symphony (1928), Quartet for Violin, Clarinet, Tenor Saxophone, and Piano (1930), Concerto for 9 Instruments (1934), Piano Variations (1935–36), String Quartet (1937–38), and Variations (1940)—are governed by rigorous formal discipline. In the vocal realm, the lyrics of Hildegard Jone, a painter and poet, inspired all of Webern’s later works, such as Three Songs, Opus 23 (1933–34) and Three Songs, Opus 25 (1934); Das Augenlicht (1935); Cantata No. 1 (1938–39); and Cantata No. 2 (1941–43). Always professing his ties with tradition, Webern was a foremost exponent of the genre of the German Lied. He also was a skillful arranger; notable among his orchestrations of classic works is the Ricercata (1935) from Johann Sebastian Bach’s Musical Offering (1747).

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After the Society for Private Musical Performances was dissolved, he conducted several choirs, notably the Singverein, a lay group especially organized to perform masterworks, such as Gustav Mahler’s Symphony No. 8 (1907), in conjunction with the Workers’ Symphony Concerts. Both organizations, sponsored by the Social Democratic Party, were dissolved after the “Dollfuss Revolution” (February 1934). As guest conductor, Webern occasionally appeared with the Austrian Radio Orchestra and was invited to conduct in Switzerland, Germany, Spain, and England.

Although an outstanding teacher, Webern never received an appointment at the University of Vienna or the music academy. He held a minor position at the Israelitic Institute for the Blind (1925–31) and from 1932 on gave private lecture courses. Public recognition at home remained limited to the Vienna Music Prize, awarded to him twice (1924, 1932) under the Socialist regime. Although Webern was not politically active, he nevertheless fell victim to the rising tide of right-wing nationalism. Schoenberg left Europe soon after Hitler came to power in 1933. The Nazis branded the music of the “New Vienna school” as “cultural Bolshevism” and “degenerate art” and banned performance of this type of music. Webern’s artistic isolation grew complete with Berg’s death in 1935, and his economic plight became desperate after the Nazi annexation of Austria in 1938. The political upheaval brought to a halt the publication of his works. With almost no private pupils left, Webern had to resort to accepting such tasks as piano arrangements of works by lesser composers. Always of a retiring disposition, he fell into total obscurity with the outbreak of World War II. Webern’s disillusionment with the Hitler regime was deepened by increasing bombing raids. In February 1945 his only son, Peter, was killed in a strafing attack on a train. When the Russian Army neared Vienna, the composer and his wife fled to Mittersill near Salzburg, where their three daughters and grandchildren had sought refuge. Webern was accidentally shot and killed there by a soldier in the U.S. occupation forces.

Anton Webern

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